When I posted my list of 101 things, I said I would blog once a month with results. That day is today.
July was a very busy month. Jessica Melendez and I launched IndieJane.org on the 11th. Indie Jane is a website by and for indie authors of Jane Austen fiction. We're creating a community of writers who are connected to the larger community of Jane Austen fans.
For Indie Jane, I checked #1 off my list: Join/start a writing group.
Despite my constant need for caffeine (if you've ever wondered why everyone doesn't start a website, it's because it's hard work), I also chose the month of July to go without soda. Even though there are still five days left in July, I'm calling this one a win right now. I've got all of you watching me--I'd feel guilty if I caved when I'd come so close.
Also, as I mentioned here, I am far, far closer to knowing what my move to England will look like. I've spent time since that blog post thinking about it, and my target date is February 2, 2014. I sat down last Sunday and created a month by month calendar, detailing what I need to do in my writing career so I can afford to quit my job by then. It's a scary list, but it's doable.
This is the first time in months that I've actually achieved anything on the list, and I know it was largely because I had my blog friends keeping me accountable. So what am I going to do in August? August is FiNancy month. I'll tackle two of the financial goals: not making extraneous purchases and no eating out.
A reminder regarding Indie Jane:
We've got two giveaways open right now, and another opening tomorrow. Enter by midnight to win a copy of Charlotte Collins by Jennifer Becton. The Kindle drawing will be open until August 11. Another giveaway featuring an Austenesque writer's prize pack will go live tomorrow. It's a big month for us; swing by and take a look!
Showing posts with label Charlotte Collins. Show all posts
Showing posts with label Charlotte Collins. Show all posts
Tuesday, July 26, 2011
Thursday, July 7, 2011
Writing Cross-Genre
Back in February, I featured Charlotte Collins in the first of my Austenesque Lessons. Last week, Jennifer Becton released her second book. It's not another Austen novel (though Caroline Bingley is coming soon).
Absolute Liability is a contemporary mystery/thriller. Julia Jackson, the heroine, is an insurance fraud investigator for Georgia's Department of Insurance. One day, she took a coffee break from the insurance company she was working out of and learned on her way back to the office that she'd been abducted.
Obviously, the victim wasn't her. Equally plain is the fact that she was the target, which generates a suspect list drawn from her current cases. The DOI sends her a hot ex-Navy partner to wrap up those investigations--and to keep her safe.
I loved this book. The plot was tight, with no holes that left me wondering at the end. Both Julia and her partner, Mark Vincent, were well-drawn, three dimensional characters. The southern flair added a unique spark and left me wishing for some sweet tea. If you like mysteries and need a summer read, this is my recommendation.
However, it is quite a departure from the world of Jane Austen. Classic wisdom states that an author should stick with one genre, at least for their first few novels. "You're building a brand," they say, "and if your books are too different, readers won't know what to expect." That seems to sell the readers short, but the advice is oft-repeated.
So how does Jennifer make this work? First and most importantly, she writes stellar books, no matter what genre they are. The same attention to character details that made Charlotte Collins stand above the crowd is here in Absolute Liability. She knows the characters, she knows the plot, and she knows how to write.
Secondly, she understands how both genres work. Every genre has its own rules and clichés, and ignorance of that stops many writers from succeeding at breaking the genre barrier. When I first read Charlotte Collins, I was impressed with the research Jennifer had done into the Regency period. Her details were realistic, which made the novel an enjoyable read. In Absolute Liability, I saw the same attention to detail. Her pacing in particular was impeccable, and we all know that can make or break a mystery.
Finally, she developed a sense of community with her readers in between the two books. This is that elusive thing known as platform. She didn't disappear after releasing Charlotte Collins in September and only resurface last week to pimp her new novel. Her readers got to know her in those ten months and wanted to support her new venture.
So really, the path to writing in multiple genres isn't any different than the path to writing in one. Do good work, do your research, connect with readers. Hmmm... maybe those readers aren't so easily confused after all.
Obviously, the victim wasn't her. Equally plain is the fact that she was the target, which generates a suspect list drawn from her current cases. The DOI sends her a hot ex-Navy partner to wrap up those investigations--and to keep her safe.
I loved this book. The plot was tight, with no holes that left me wondering at the end. Both Julia and her partner, Mark Vincent, were well-drawn, three dimensional characters. The southern flair added a unique spark and left me wishing for some sweet tea. If you like mysteries and need a summer read, this is my recommendation.
However, it is quite a departure from the world of Jane Austen. Classic wisdom states that an author should stick with one genre, at least for their first few novels. "You're building a brand," they say, "and if your books are too different, readers won't know what to expect." That seems to sell the readers short, but the advice is oft-repeated.
So how does Jennifer make this work? First and most importantly, she writes stellar books, no matter what genre they are. The same attention to character details that made Charlotte Collins stand above the crowd is here in Absolute Liability. She knows the characters, she knows the plot, and she knows how to write.
Secondly, she understands how both genres work. Every genre has its own rules and clichés, and ignorance of that stops many writers from succeeding at breaking the genre barrier. When I first read Charlotte Collins, I was impressed with the research Jennifer had done into the Regency period. Her details were realistic, which made the novel an enjoyable read. In Absolute Liability, I saw the same attention to detail. Her pacing in particular was impeccable, and we all know that can make or break a mystery.
Finally, she developed a sense of community with her readers in between the two books. This is that elusive thing known as platform. She didn't disappear after releasing Charlotte Collins in September and only resurface last week to pimp her new novel. Her readers got to know her in those ten months and wanted to support her new venture.
So really, the path to writing in multiple genres isn't any different than the path to writing in one. Do good work, do your research, connect with readers. Hmmm... maybe those readers aren't so easily confused after all.
Thursday, February 24, 2011
Austenesque Lesson: Character Development
Characterization is a classic fanfiction pitfall, and Austen sequel readers are especially picky about this. They know these characters inside and out, and they want to recognize their favorites in our stories. To avoid their ire, we work hard to present the characters exactly as Austen left them.
However, that's not true to life and it's not good writing. People grow and change; I will not be the same person at the end of this year as I was at the beginning. That change is even more vital in fiction. If we are to believe the crisis that drives your plot matters, your character must be changed by the events.
In Charlotte Collins, Jennifer Becton strikes the middle ground. Becton begins her story with the Charlotte we all know, the lady who believed that "happiness in marriage is entirely a matter of chance." If anything, after seven years of marriage to Mr. Collins she is even more pragmatic than before.
After her husband's death, she is assiduously courted by two men; one a gentleman, the other a rake. When the rake ruins her reputation by spreading a scandalous falsehood about her, she is faced with a decision. Will she remain the same Charlotte who chose security over all other concerns, or will she risk everything for one chance at happiness?
Our last picture of Charlotte is of a woman who has finally found true love. Her life is no longer ruled by propriety or a striving for security. Her life is exactly the opposite of where Jane Austen left her, but those same purists we fear have done nothing but praise this book.
There are three keys to Becton's success. I already touched on the first--Charlotte starts out as the recognizable Austen character. The second is an inciting incident that is both believable and big enough to cause the ripple effect you're looking for. Mr. Collins' death certainly qualifies on both counts.
The third is where the magic is. Charlotte doesn't transform overnight. This is where that little thing called plot comes into play. Each decision Charlotte makes drives her to the next change, which leads to the next decision. When we finally reach the climax of the story, she is sufficiently changed that we can almost guess what she will do.
Character development is a difficult balancing act when writing a Jane Austen sequel, but if we pull it off, the result is a book that will satisfy both the purist and someone only looking for a good story.
However, that's not true to life and it's not good writing. People grow and change; I will not be the same person at the end of this year as I was at the beginning. That change is even more vital in fiction. If we are to believe the crisis that drives your plot matters, your character must be changed by the events.
In Charlotte Collins, Jennifer Becton strikes the middle ground. Becton begins her story with the Charlotte we all know, the lady who believed that "happiness in marriage is entirely a matter of chance." If anything, after seven years of marriage to Mr. Collins she is even more pragmatic than before.
After her husband's death, she is assiduously courted by two men; one a gentleman, the other a rake. When the rake ruins her reputation by spreading a scandalous falsehood about her, she is faced with a decision. Will she remain the same Charlotte who chose security over all other concerns, or will she risk everything for one chance at happiness?
Our last picture of Charlotte is of a woman who has finally found true love. Her life is no longer ruled by propriety or a striving for security. Her life is exactly the opposite of where Jane Austen left her, but those same purists we fear have done nothing but praise this book.
There are three keys to Becton's success. I already touched on the first--Charlotte starts out as the recognizable Austen character. The second is an inciting incident that is both believable and big enough to cause the ripple effect you're looking for. Mr. Collins' death certainly qualifies on both counts.
The third is where the magic is. Charlotte doesn't transform overnight. This is where that little thing called plot comes into play. Each decision Charlotte makes drives her to the next change, which leads to the next decision. When we finally reach the climax of the story, she is sufficiently changed that we can almost guess what she will do.
Character development is a difficult balancing act when writing a Jane Austen sequel, but if we pull it off, the result is a book that will satisfy both the purist and someone only looking for a good story.
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